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Dimitrie Cantemir” Christian University “DIMITRIE CANTEMIR” CHRISTIAN UNIVERSITY FACULTY OF FOREIGN LANGUAGES AND LITERATURES ANNALS OF “DIMITRIE CANTEMIR” CHRISTIAN UNIVERSITY LINGUISTICS, LITERATURE AND METHODOLOGY OF TEACHING VOLUME XVI No.1/2016 This journal is included in IDB SCIPIO http://analeflls.ucdc.ro [email protected] ISSN 2065 – 0868 ISSN-L 2065 - 0868 Each author is responsible for the originality of his article and the fact that it has not been previously published. “DIMITRIE CANTEMIR” CHRISTIAN UNIVERSITY FACULTY OF FOREIGN LANGUAGES AND LITERATURES ANNALS OF “DIMITRIE CANTEMIR” CHRISTIAN UNIVERSITY LINGUISTICS, LITERATURE AND METHODOLOGY OF TEACHING VOLUME XVI No.1/2016 CONTENTS PROCEEDINGS OF THE THIRD INTERNATIONAL CONFERENCE JAPAN: PRE-MODERN, MODERN AND CONTEMPORARY. A RETURN TRIP FROM THE EAST TO THE WEST. LEARNING IN, ABOUT AND FROM JAPAN 9-11 September 2015 I. LITERARY STUDIES Yasusuke Oura: Fiction and fictionality in Japanese culture: shishōsetsu (i-novel) and “otaku” culture……………………………………………8 Tomoe Nakamura, Akihiro Kubo, Manabu Kawada: Description and point of view in the modern Japanese novel: Iwano Hōmei’s theoretical discourse…………………………………………………………………………23 Chien Hui Chuang: A Study of 'Shanghai'Magazine, and its Proponents, Focusing on its Literary Column……………………………………………………….42 Junko Abe: Representation of tamashii in Reflections on Contemporary Tales by Matsutani Miyoko……………………………………………………………….54 Sungkook Kang: Western Civilization as Exhibited in a Sino-Japanese Poem from the Edo Period: An Analysis of Arai Hakuseki’s “The Alarm Clock”………………………………………………………………………………………………68 II. LANGUAGE STUDIES Andreea Sion: Japanese words used in Romania…………………………….83 Júlia Somodi: Interpersonal Relations in Source Text and Target Text in the Light of the Translation of Appelatives……………………………………..95 III. CULTURAL STUDIES 5 Brendan Le Roux: Was Lafcadio Hearn’s Prophecy about Japanese Migrants in Guadeloupe Right? The Background of the 1895 Japanese Workers’s Labour Movement…………………………………………………………..112 Diana Tihan: Japanese Approaches to the Challenges of Ageing- Lessons for Romania………………………………………………………………………132 Raluca Nagy, Horea Sibișteanu: The Taming of the Earthquake. Can Romania Learn from Japan?....................................................................143 Magdalena Ciubăncan: A Rose by Any other Name is Still a Rose…or Is It? On Gender Roles in Contemporary Japan……………………………………160 Angela Drăgan: Japan’s Image in the Romanian Mass-Media in the First Half of the 20th Century…………………………………………………………..169 Irina Holca: Romania and Japan: Real and Imaginary Encounters at the Turn of the 20th Century…………………………………………………………….178 Maria Grăjdian: Identity in Fragments. Kanno Yōko, Counter- Orientalism and Eclectic Nostalgias in Anime Soundtracks...................191 Oana Loredana Scoruș: A Cultural Interpretation of the Features of a Japanese Garden……………………………………………………………………………212 Saida Khalmirzaeva: Yuriwaka: On the Possible Route of the Story’s Transmission…………………………………………………………………………………230 Rieko Kamei-Dyche: Depicting Authority: The Saionji Family and Cultural Capital in the early Medieval Japanese Court……………………..251 Andrew T. Kamei-Dyche: Mapping the Intellectual Landscape: Bookstores and the Book towns in the Late Era…………………………………267 Carmen Săpunaru Tămaș: From Conception to Adulthood-Children’s Rites of Passage in Japanese Society………………………………………………..277 Adrian Ovidiu Tămaș, Carmen Săpunaru Tămaș: A Romanian Community in Ōsaka: A Case Study of Class Discrimination in Two Languages……………………………………………………………………………………..290 6 LITERARY STUDIES FICTION AND FICTIONALITY IN JAPANESE CULTURE: SHISHŌSETSU (I-NOVEL) AND “OTAKU” CULTURE Yasusuke OURA Abstract: Fiction and fictionality—their features and uses—can provide numerous insights into a culture. The issues they raise also offer a fertile ground for comparative studies. In the case of Japanese culture, the shishōsetsu (I- novel), often considered the representative genre of modern Japanese literature, uses a special type of fictionality, which is one of its definitory features. Oversimplifying the facts, we could say that it stands at the intersection of the study of Japanese culture and theory of fiction. In Japan, only few thinkers have analysed the shishōsetsu from this standpoint; for example, Itō Sei and Maruyama Masao, soon after the end of the Second World War, pointed out the unique type of fictionality present in the shishōsetsu, and connected it to a wider argument about the Japanese cultural background and mentality. This talk introduces the ideas of Itō and Maruyama, and attempts to reconsider the theoretical implications of this “Japanese-style fiction” from a present-day perspective. Another topic I tackle is the so-called “otaku culture”, especially the production and consumption of narratives it involves, often discussed in terms of “narrative consumption”, nijisōsaku (derivative work), etc. The phenomenon is not limited to literature, encompassing many subculture genres: manga, anime, video games, etc. The “otaku culture” in this sense, when we consider it from the point of view of fictionality, seems to contrast strangely with the shishōsetsu: while the latter is a quasi-autobiographical genre, recounting the author’s everyday experiences, the former is characterised by a sort of panfictionalism, a key concept of “postmodern” culture. Nevertheless, both are presumed to be Japanese. How can we explain this? That is the question I address in concluding my talk. Keywords: shishōsetsu, otaku, fiction, narrative, derivative work INTRODUCTION Fiction and fictionality — their features and uses — can provide numerous insights into a culture. Fiction is a social institution. If the term “institution” is an exaggeration, then it is at least a social agreement or convention. While there might still be some discussion over whether fiction is something Western in nature, it is an undoubted fact that it has not existed all over the world in all ages in the same fashion. It is said that even in the West, the concept of fiction Professor, Institute for Research in Humanities, Kyoto University 8 as we know it today — i.e., something not designed to deceive people and clearly distinguished from lies — began to take root only after the Renaissance. This seemingly simple attitude of producing and receiving fiction as fiction is by no means obvious. I will not go into details here, but it is evident that a society’s degree of permissiveness towards fiction varies significantly depending on the age and the cultural background. In the West, the discourse praising the cognitive value and social benefits of fiction, as seen with Aristotle, and the argument that fiction is harmful, which was started by Plato, have coexisted throughout the ages in different forms. For example, the novel as a genre has enjoyed tremendous popularity since its inception, while at the same time it has been an easy target of the argument that fiction is harmful, i.e., “fiction has a corrupting influence on women and young people”. On the other hand, recent events, such as members of the Islamic community calling for the death of Salman Rushdie for his Satanic Verses, the incident related to the satirical Muhammad cartoons published by a Danish newspaper, and the terror attack on Charlie Hebdo in France, can be seen, at least in a sense, as manifestations of intolerance to fiction, backed up by cultural differences. Needless to say, the issue is very delicate in areas connected to religion and discrimination. In some cases, fiction can be the source of terrorism and diplomatic problems. Anyway, I repeat, fiction and fictionality — their features and uses — can provide numerous insights into a culture. The issues they raise also offer a fertile ground for comparative studies1. Shishōsetsu, one of the topics I am going to focus on, is a type of novel that reached its peak in the 1910s and the 1920s, i.e., from the end of the Meiji period to the beginning of the Shōwa period, and continued to be pursued actively even after World War II. It has long been considered the typical example of modern Japanese novel, both with a positive and negative connotation, by Japanese critics and foreign scholars who study Japanese literature alike. One of the main distinguishing features of the shishōsetsu is its unique fictionality. On the other hand, “otaku culture” is a term used to refer to a part of the Japanese subculture that has developed since the 1980s, as well as the behavior of young people who get absorbed in it. Since “otaku” is now an international word, I guess that many people are familiar with what “otaku culture” refers to, as it has become known worldwide and is actually much more popular than the shishōsetsu. “Otaku culture” is also related to the problem of fiction through its unique conception of the narrative. Thinking about shishōsetsu and “otaku culture” at the intersection of the studies on Japanese culture and those about fiction may sound a little too ambitious, but this is the topic of my talk today. Please understand that, due to the time constraints, I might not be able to go into specifics. Before continuing to the main discussion, let me add one thing. This April, we published an anthology of Japanese literary theories, the fruit of a joint study I conducted over the past four years at the Institute for Research in Humanities, Kyoto University. The book is titled Literary Theories in Japan: 1 Cf. Anne Duprat & Françoise Lavocat eds., Fiction et Cultures, coll. « Poétiques comparatistes », Société française de
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